“Man overboard.”[b] (often attached to the man overboard pole on boats).With a sinister hoist, the semaphore flag.

Referencia aquí30 × 50 cmoil on canvas

Referencia aquí reiteradamente contribuyó a acelerarla— ya estaba en la mente del gobierno. Desde hacía meses teníamos el propósito de convocar a una reunión como esta

Reference has been made repeatedly here contributed to accelerating it. We have had the intention for months of calling a meeting like this

Aquí han45 × 55 cmoil on canvas

Aquí han hablado los “heridos” y han expresado su queja sentida contra lo que han estimado ataques injustos. Afortunadamente no han pasado los cadáveres, sino los heridos (RISAS); compañeros incluso convalecientes todavía de las heridas recibidas (RISAS). Y algunos de ellos presentaban como una evidente injusticia el que se les haya atacado con cañones de grueso calibre sin poder siquiera ripostar el fuego.

Those who have been harmed have spoken here, expressing their resentful complaints against what they considered to be unjust attacks. Fortunately, the wounded rather than the corpses have passed by here. Even some comrades who are still convalescing from the wounds received. And some of them have submitted as an obvious injustice the fact that they were attacked with heavy calibre guns without their even being able to return the fire.

Y el artista30 × 300 cmoil on canvas

Y el artista más revolucionario sería aquel que estuviera dispuesto a sacrificar hasta su propia vocación artística por la Revolución.

And the most revolutionary artist will be that one who is prepared to sacrifice even his own artistic vocation for the Revolution.

Teníamos40 × 100 cmoil on canvas

Teníamos mucho interés en estas discusiones. Creo que lo hemos demostrado con eso que llaman “una gran paciencia” (RISAS). Y en realidad no ha sido necesario ningún esfuerzo heroico, porque para nosotros ha sido una discusión instructiva y, sinceramente, ha sido también amena.

We were greatly interested in these discussions, and I believe that we have demonstrated what could be called “great patience” with this. Actually, however, it was not necessary to make a heroic effort, because it has been an instructive discussion for us, and I would say sincerely that it has been entertaining.

Nosotros75 × 90 cmoil on canvas

Nosotros creemos que la Revolución tiene todavía mu- chas batallas que librar, y nosotros creemos que nuestro primer pensamiento y nuestra primera preocupación debe ser qué hacemos para que la Revolución salga victoriosa. Porque lo primero es eso: lo primero es la Revolución misma. Y después, entonces, preocuparnos por las demás cuestiones. Esto no quiere decir que las demás cuestiones no deban preocuparnos, pero que el estado de ánimo nuestro —tal como es al menos el nuestro— es preocuparnos fundamentalmente primero por la Revolución.

We believe that the Revolution has many battles yet to wage, and we believe that at first thought and our first concern should be what we can do so that the Revolution can emerge victorious. Because this is the first thing. The first thing is the Revolution itself, and after that, we can concern ourselves with the other matters. This does not mean that the other matters should not concern us, but that the basic concern in our state of mind – as it is in mine, in any case – must be the Revolution.

Nosotros creemos30 × 300 cmoil on canvas

Nosotros creemos que con el esfuerzo de todos estamos llevando adelante una verdadera revolución, y que esa revolución se desarrolla y parece llamada a convertirse en uno de los acontecimientos importantes de este siglo.

We believe that we are carrying out a genuine revolution with the efforts of everyone, and that this revolution is developing and appears to be destined to become one of the important events of this century.

“I am disabled; communicate with me.”

“I am on fire and have dangerous cargo on board: keep well clear of me.”

Patria o Muerte30 × 300 cmoil on canvas

Patria o Muerte!”, es decir, la Revolución o la muerte, la existencia de la Revolución o nada, de una Revolución que ha dicho “¡Venceremos!”

“Fatherland or Death,” that is, Revolution or death? The existence of the Revolution or nothing, of a Revolution which has said “We Shall Win!”

No quiere45 × 120 cmoil on canvas

No quiere decir eso que el artista tenga que sacrificar el valor de sus creaciones y que necesariamente tenga que sacrificar esa calidad. ¡No quiere decir eso! Quiere decir que tenemos que luchar en todos los sentidos para que el creador produzca para el pueblo y el pueblo a su vez eleve su nivel cultural que le permita acercarse también a los creadores.

This does not mean that the artist has to sacrifice the value of his creations, or that their quality must necessarily be sacrificed. It means that we must conduct a struggle in all senses in order to have the creator produce for the people, and to have the people raise their cultural level in turn, so that they might also draw closer the creators.

Esto significa45 × 55 cmoil on canvas

Esto significa que dentro de la Revolución, todo; contra la Revolución, nada. Contra la Revolución nada, porque la Revolución tiene también sus derechos; y el primer derecho de la Revolución es el derecho a existir. Y frente al derecho de la Revolución de ser y de existir, nadie —por cuanto la Revolución comprende los intereses del pueblo, por cuanto la Revolución significa los intereses de la nación entera—, nadie puede alegar con razón un derecho contra ella. Creo que esto es bien claro.

This means that within the Revolution, everything; outside the Revolution, nothing. Nothing outside the Revolution, because the Revolution has its rights also, and the first right of the Revolution is the right to exist, and no-one can stand against the right of the Revolution to be and to exist. No one can rightfully claim a right against the Revolution. Since it takes in the interests of the people and signifies the interests of the entire nation. I believe that this is quite clear.

“I wish to communicate with you.”

“Affirmative.”

“Stop carrying out your intentions and watch for my signals.”

“I am altering my course to starboard.”

Casualmente80 × 80 cmoil on canvas

Casualmente, un rato antes de regresar a este salón, un compañero nos traía un folleto donde en la portada o al final aparece un pequeño diálogo sostenido con nosotros por Sartre y que el compañero Lisandro Otero recogió con el título de “Conversaciones en la Laguna”, en Revolución, martes 8 de marzo de 1960. Una cuestión similar nos planteó en otra ocasión Wright Mills, el escritor norteamericano.

By coincidence, a comrade brought us a pamphlet a moment before we returned to this salon. On the cover of it, or at the end, there is a short dialogue which we had with Sartre which Comrade Lisandro Otero collected in the book entitled Conversaciones en la Laguna (Conversations at La Laguna)(Revolucion, Tuesday 8 March 1960). A similar matter was posed to us on another occasion by Wright Mills, the US writer.

Sunsetsvariable dimensionschalk and crayon on book pages50 double page spreads from (La Guerrade Guerrillas)

Todos30 × 40 cmoil on canvas

Todos debiéramos tener una actitud similar. Cualesquiera que hubiesen sido nuestras obras, por meritorias que puedan parecer, debemos empezar por situarnos en esa posición honrada de no presumir que sabemos más que los demás, de no presumir que hemos alcanzado todo lo que se puede aprender, de no presumir que nuestros puntos de vista son infalibles y que todos los que no piensen exactamente igual están equivocados. Es decir, que nosotros debemos situarnos en

All of us should have a similar attitude, whatever our deeds have been. No matter how meritorious they may seem, we must begin by placing ourselves in the honest position of not presuming to know more than others do, of not presuming that we have learned everything that can be learned, of not presuming that our points of view are infallible, and not presuming that those who do not think exactly the same way are mistaken. That

“I have a pilot on board.”

Words to Sea by Diango Hernández

I’ve watched too many times Jeremiah Johnson - the story of a deserter, a man who exchanges a country busy with war for the peaceful and extraordinary wilderness. Confronted with the task of surviving Captain Johnson learns that isolation is the best way to succeed. In silence he lives; language is of no use to him. In this sense Jeremiah Johnson could be the story of a romantic, or better to say, the story of an American romantic.

The amount of risk involved in the trajectory is what makes a journey different than another. There are only 90 miles between Cuba and Florida. But these 90 miles are different from many others. Salt water and sun, sharks and the Gulf Stream, make them unique. It is the first time that I have written about these 90 miles. It feels like I shouldn’t, but I have to.

After seven days navigating without orientation all my sweet water reserves were gone. During the day the sun was so intense that at night my eyes saw no moon, no stars, only darkness. The sea at night looked like a black marble floor, like a fancy ballroom but with no dancers. Touching my left hand with my right hand was the only way I found to feel some company. What did I leave behind? Land. What did I have in front? Only water. Fortunately dreamers don’t need land, but water wasn’t exactly what I was looking for. The constant waves finally disoriented me and after the third day they forced me to believe that there was no end and no beginning, just rhythm. I counted too many waves. Numbers are endless as waves.

‘Where are you going, Captain Johnson?’ He replied, ‘I don’t know.’

Words to Sea by Diango Hernández

I’ve watched too many times Jeremiah Johnson - the story of a deserter, a man who exchanges a country busy with war for the peaceful and extraordinary wilderness. Confronted with the task of surviving Captain Johnson learns that isolation is the best way to succeed. In silence he lives; language is of no use to him. In this sense Jeremiah Johnson could be the story of a romantic, or better to say, the story of an American romantic.

The amount of risk involved in the trajectory is what makes a journey different than another. There are only 90 miles between Cuba and Florida. But these 90 miles are different from many others. Salt water and sun, sharks and the Gulf Stream, make them unique. It is the first time that I have written about these 90 miles. It feels like I shouldn’t, but I have to.

After seven days navigating without orientation all my sweet water reserves were gone. During the day the sun was so intense that at night my eyes saw no moon, no stars, only darkness. The sea at night looked like a black marble floor, like a fancy ballroom but with no dancers. Touching my left hand with my right hand was the only way I found to feel some company. What did I leave behind? Land. What did I have in front? Only water. Fortunately dreamers don’t need land, but water wasn’t exactly what I was looking for. The constant waves finally disoriented me and after the third day they forced me to believe that there was no end and no beginning, just rhythm. I counted too many waves. Numbers are endless as waves.

‘Where are you going, Captain Johnson?’ He replied, ‘I don’t know.’

RefugioLaser print on tracing paperEdition of 393 × 80 cm

Diango Hernández

Born 1970, Sancti Spíritus, Cuba

Lives and works Düsseldorf, Germany

Selected Solo Shows2015 Flavor Orbit and Orange Curtain, SP-ARTE with Galerie Barbara Thumm, São Paulo The book of waves, Marlborough Contemporary, London Words to sea, Art Basel UNLIMITED, Basel, with Marlborough Contemporary, London, Alexander and Bonin, NY, Barbara Thumm, Berlin, Nicolas Krupp, Basel Back and Forth, Kunsthalle Münster, Münster2014 By all means I am here, solo project, Art Brussels, Brussels In hazard, translated, Kunstverein Nürnberg Socialist nature, Landesgalerie, Linz First declaration, Mostyn, Wales2013 Komplette zimmer, Capitain Petzel, Berlin The importance of a line, Porta33, Madeira The new man and the new woman, Marlborough Contemporary, London The editionx, dh artworks, Düsseldorf2012 The stamps that never travelled and the birds that never flew, Benveniste Contemporary, ARCO, Madrid Folded Tiger, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf Drawing the human figure, Fondazione Brodbeck, Catania2011 Lonely fingers, Marl Skulpturenmuseum, Marl Diango Hernandez. Living rooms, a survey, MART, Rovereto Crystal clear, Nicolas Krupp Contemporary Art, Basel If I send you this, Alexander and Bonin, NY Line dreamers, Haus im Süden, Cologne The stamps that never travelled and the birds that never flew, Benveniste Contemporary, Madrid2010 A kiss, a hat, a stamp, Blood Mountain Foundation, Budapest Museums: Selected works 1996/2010, Galerie Michael Wiesehöfer, Cologne2009 Losing you tonight: Flying memories, Galerie Michael Wiesehöfer, FIAC, Paris Losing you tonight, Museum für Gegenwartskunst, Siegen Define gravity. Sun State #3, collaboration with Mouse on Mars, Galerie Michael Wiesehöfer, Cologne The importance of a line, Porta33, Madeira Giardino tropicale, Paolo Maria Deanesi Gallery, Artissima, Turin La historia, mi juguete preferido, Pepe Cobo y Cia, Madrid Th-ink, Alexander and Bonin, NY El manual del tractorista arrepentido, Alexander and Bonin Zona Maco, Mexico City, Mexico

It is also my history, Pepe Cobo y Cia, Art Cologne, Cologne Building beyond success, collaboration with Anne Pöhlmann, Clages, Cologne2008 Inspire me, again, Stella Lohaus Gallery, Antwerp Diamonds and stones: My education, Federico Luger Gallery, Milan out-of-place artifacts (OOPArt), Galerie Michael Wiesehöfer, Cologne/ Galerie Barbara Thumm, Berlin2007 Objects of ridicule, Alexander and Bonin, NY Victoria together with Andrzej Wróblewski, National Museum, Warsaw Swans without a lake, Neuer Aachener Kunstverein NAK, Aachen The fruit of evil, Galería Pepe Cobo, ArtBasel Miami Beach, Miami Mother the future was a political lie…, Galerie Frehrking Wiesehöfer, ArtCologne, Cologne Power pencil, Paolo Maria Deanesi Gallery, Rovereto2006 Dictators, Galerie Frehrking Wiesehöfer, Cologne The factory of silence, National Bank of, Düsseldorf Traitors, Galería Pepe Cobo, Madrid Spies, Alexander and Bonin, NY Revolution Kunsthalle Basel, Basel2005 The museum of capitalism, Altes Museum, Abteiberg Museum, Mönchengladbach Waiting, Galerie Frehrking Wiesehöfer, ArtForum, Berlin Palabras, Pepe Cobo, Arco Art Fair, Madrid Revantgarde, Paolo Maria Deanesi Gallery, Rovereto2004 Democracy, together with Boris Michailov, Kunstverein Arnsberg, Arnsberg Amateur, De Vleeshal, Middelburg2003 Amateur, Galerie Frehrking Wiesehöfer, Cologne2002 Sweet home, Espacio Aglutinador, Havana2001 Mousepads and screensavers, ArtPace, San Antonio Network transmission/Summer days, Adamski Frehrking Wiesehöfer , Galerie, Cologne1999 Esta cerca es provisional: Evite ser requerido/This is a provisional fence: Keep out, Centro de Desarrollo de Las Artes Visuales, Havana 1997 Hiking Raffle, Banff Centre for the Arts, Alberta Hormigón armado, Centro de Desarrollo de Las Artes Visuales, Havana1996 Agua con azúcar y La muestra provisional, Centro de Desarrollo de Las Artes Visuales, Havana Museo de Arte Contemporáneo y Diseño (MACD), San José Para saber quien soy, Centro de Desarrollo de Las Artes Visuales, Havana1995 Bésame Habana, Centro de Arte y Diseño, Havana

Wildlife 04 final, Sommerpalast, Neuss Bookies, M29 Brückner + Richter, Cologne With Eyes of Stone and Water, Gallery 3,14, Bergen,2003 8va. Bienal de la Habana, Centro Wilfredo Lam, Havana Stretch, Power Plant, Toronto2002 Prophets of boom. The Schürmann Collection, Kunsthalle Baden-Baden, Baden With eyes of stone and water, Helsinki Art Museum, Helsinki Atravesados. Deslizamientos de identidades y géneros, Fundación Telefónica, Madrid2001 Short stories, La Fabbrica del Vapore, Milano Un dia como otro cualquiera – A day like any other day, 7ma Bienal de la Habana, Havana2000 La conjunción de la nada – The conjunction of nothingness, Centro de Desarrollo de Las Artes Visuales, Havana1999 CUBA, present!, Barbican Centre, London Thinking Aloud, Camden Art Centre, London1998 Provisional Utopias, Ludwig Forum für Internationale Kunst, Aachen, Kunsthaus Berlin 1er Salon de Arte Cubano contemporáno, Centro de Desarrollo de Las Artes Visuales/Centro de Arte Contemporáneo Wilfredo Lam, CENCREM Fototeca de Cuba, Havana Thinking Aloud, Hayward Gallery, London, Kettle‘s Yard, Cambridge, Cornerhouse, Manchester Entropy at home, Suermondt-Ludwig Museum, Aachen The Campaign Against Living Miserably, Royal College of Art, London1997 The Russian mountain, 3 Manifestation Internationale Vidéo et Art Électronique, Montreal Rompiendo los moldes, Taller de Serígrafia Rene Portocarrero, 6th Bienal de La Habana, Havana1996 Ultimas noticias, Galería de Arte de Matanzas, Matanzas1995 Una de cada clase. The next generation show, Centro de Arte y Diseño, Havana

Awards and Residencies2014 Artist in residence, Salzamt, Linz, Austria2013 Best special exhibition of the year 2013 AICA, Germany (International Association of Art Critics) lonelyfingers- Konversationsstücke at Museum Abteiberg, Germany2012 Premio Rotary Club, MIART, Milan, Italy Artist in residence, Fondazione Brodbeck, Catania, Italy2010 Artist in residence, Blood Mountain Foundation, Budapest, Hungary2008 Rubens-Förderpreis der Stadt Siegen, Germany2007 Premio Icona, Verona, Italy Artist in residence at Frac des Pays de la Loire, Carquefou, France

2005 Artist in residence, Museum Abteiberg, Mönchengladbach, Germany2001 Artist in residence, Artpace Foundation, San Antonio, US1998 Artist in residence, Ludwig Forum für Internationale Kunst, Aachen, Germany1997 Artist in residence, ‘Apocalypso’, Banff Centre for the Arts, Alberta, Canada

Selected Group Shows2015 I never thought I’d see you again. Painting History, Marlborough Contemporary, London Piano pieces, Salzburg Museum, Salzburg Birds, plants and a chair, Kadel Willborn2014 Entorno crítico, CAB de Burgos Summestage, Galerie Barbara Thumm, Berlin New paintings, Alexander and Bonin, NY Bringing light into a windowless room, Capitain Petzel, Berlin Power of chi, SPREEZ e.V., Munich Salon distingué – Household effects in good company, Museum Langmatt, Baden The marvelous real, Museum of Contemporary Art, Tokyo Beyond the supersquare, Bronx Museum, NY International Biennial of Contemporary Art of Cartagena de Indias, Cartagena2013 lonelyfingers. Konversationsstücke , Museum Abteiberg, Mönchengladbach The Feverish Library, Capitain Petzel, Berlin Arqueológica, Matadero, Madrid Triennale der Kleinplastik in Fellbach, Fellbach Politics: I do not like it, but it likes me, LAZNIA Centre for Contemporary Art, Poland 2012 Newtopia: The State of Human Rights, Mechelen, Belgium Chaotic trajectories (curated by Thomas Rehbein), Temporary Gallery, Cologne2011 Sammlung im Prozess, Skulpturenmuseum Glaskasten Marl, Marl Hans hat Glück, Castle Gandegg, Appiano The silver show, NAK, Aachen Entropia, Philara – Sammlung zeitgenössischer Kunst, Düsseldorf DC Bonus, Schmidt Maczollek/ Michael Wiesehöfer/Thomas Zander, Forum für Fotografie, Cologne New Space, Federico Luger, Milan Colors for a new home, Signs of love and other paintings, Alexander and Bonin, NY Fronteras en mutación, en tránsito of Bridges & Borders (fase III), CCEBA, Centro Cultural de España en Buenos Aires Local host (International artists in/from NRW At AZKM), Ausstellungshalle Zeitgenössische Kunst Tracks, Kunstmuseum Liechtenstein, Liechtenstein Drawings wall, Paolo Maria Deanesi Gallery, Rovereto2010 Neues Rheinland. Die Postironische Generation, Museum Morsbroich, Leverkusen Fiona Banner – Marcus Becker – Diango Hernández, Galerie Barbara Thumm, Berlin 4 on paper, Alexander and Bonin, NY Face to face, Pepe Cobo y Cia, Madrid Touched, The 10th Liverpool Biennial, Tate Liverpool, Liverpool The new décor, Hayward Gallery, London /Garage CCC, Moscow

Star city, Nottingham Contemporary, Nottingham Who wants to use my window? Paolo Maria Deanesi Gallery, Rovereto Goldene Zeiten, Haus der Kunst, Munich Modelos para armar: Thinking Latin America from the MUSAC collection, León A philosophical enquiry into the origin of our ideas of the fear and terror, Galleria Gentili, Prato Languages and experimentations MART, Rovereto Larger than life stranger than fiction, 11th Triennale der Kleinplastik Fellbach bei Stuttgart2009 Ordinary revolutions, Museum Morsbroich, Leverkusen Das Gespinst, Museum Abteiberg, Müchengladbach Performa 09, NY Danielle Kawaaitaal and Diango Hernández, Monkeys Island, Cologne Precarious Form, Galerie Meyer Kainer, Vienna, Austria2008 Arise! ye starvelings…, Pallas Contemporary Projects, Dublin Articulações, Fábrica da Cerveja, Faro Baghdad/space/analyst, Frith Street Gallery, London Wessen Geschichte, Kunstverein Hamburg, Hamburg On air (curated by Huh joung-en), Künstlerverein Malkasten, Düsseldorf2007 Made in Germany, Kunstverein Hannover, Hannover Bei Freunden zu Gast, Stella Lohaus Gallery, Antwerp Love and Cables, Nüans, Düsseldorf Domestic irony, a curious glance on private Italian collections, MUSEION, Bolzano Como vivir juntos, Museo de Arte Contemporáneo de Santiago de Chile Parcours interdit, Malkasten Park, Düsseldorf2006 The square root of a drawing, Temple Bar Gallery, Dublin Lo desacojedor (curated by Okwui Enwezor), Bienal de Sevilla, Seville Como vivr juntos, Sao Paolo Biennial, Sao Paolo Zones of contact, Sydney Biennial, Sydney Biennale Cuvée, O.K. Centrum für Gegenwartskunst, Linz Out of the blue, Federico Luger Gallery, Milano Re: Location, Alexander and Bonin, NY2005 Always a little further, Arsenale, 51. Venice Biennial, Venice Lichtkunst aus Kunstlicht, ZKM, Museum für Neue Kunst, Karlsruhe Roboter, Opelvillen, Rüsselsheim Biwak, Galerie Frehrking Wiesehöfer, Cologne Opening, Paolo Maria Deanesi Gallery, Rovereto2004 Flesh at war with enigma, Kunsthalle Basel, Basel doku/fiction. Mouse on Mars – reviewed & remixed, Kunsthalle Düsseldorf, Dusseldorf

Diango HernándezThe Book of Waves29 April – 5 June 2015

Marlborough Contemporary 6 Albemarle Street London W1S 4BY United Kingdom+44 (0)20 7629 5161 info@marlboroughcontemporary.com marlboroughcontemporary.com All works 2015

© The artist. All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, or stored in any retrieval system of any nature without prior written permission of the copyright holders, except for permitted fair dealing under the Copyright, Designs and Patents Act 1988. Editor Andrew Renton Photography Anne Pöhlmann Design Pony Ltd., London Print Cassochrome

ISBN: 978-1-909693-14-2Edition of 600

LondonMarlborough Fine Art (London) Ltd 6 Albemarle Street London, W1S 4BY Telephone: +44 (0)20 7629 5161 Telefax: +44 (0)20 7629 6338 mfa@marlboroughfineart.com info@marlboroughgraphics.com www.marlboroughfineart.com Marlborough Contemporary 6 Albemarle Street London, W1S 4BY United Kingdom New YorkMarlborough Gallery Inc. 40 West 57th Street New York, N.Y. 10019 Telephone: +1 212 541 4900 Telefax: +1 212 541 4948 mny@marlboroughgallery.com www.marlboroughgallery.com Marlborough Broome Street331 Broome St.New York, N.Y. 10002Telephone: +1-212-219-8926Telefax: +1-212-219-8965broomestreet@marlboroughchelsea.comwww.marlboroughchelsea.com/broome-st/exhibitions Marlborough Chelsea 545 West 25th Street New York, N.Y. 10001 Telephone: +1 212 463 8634 Telefax: +1 212 463 9658 chelsea@marlboroughgallery.com MadridGalería Marlborough SA Orf ila 5 28010 Madrid Telephone: +34 91 319 1414 Telefax: +34 91 308 4345 info@galeriamarlborough.com www.galeriamarlborough.com BarcelonaMarlborough Barcelona Enric Granados 68 08008 Barcelona Telephone: +34 93 467 4454 Telefax: +34 93 467 4451 infobarcelona@galeriamarlborough.com Monte CarloMarlborough Monaco 4 Quai Antoine ler MC 98000 Monaco Telephone: +377 9770 2550 Telefax: +377 9770 2559 art@marlborough-monaco.com www.marlborough-monaco.com SantiagoGalería A.M.S. Marlborough Nueva Costanera 3723 Vitacura, Santiago, Chile Telephone: +56 2 799 3180 Telefax: +56 2 799 3181 amsmarlborough@entelchile.net www.galeriaanamariastagno.cl